The demo for F.E.A.R. 2 has two themes running through it that are clearly at odds with one another, and they do a fine job of convoluting the game’s purpose. On the one hand, the introductory mission of F.E.A.R. 2 stresses gunplay and combat, showcasing the AI that made the first installment remarkable. On the other, the player is constantly bombarded with horrible imagery, to the point where it starts to lose its effect. There is no buildup or tension; instead, there is a flash of some disturbing scene that cuts through the action, and then the game introduces clone soldiers to fight. Detractors will easily point out that there wasn’t much beyond this formula in F.E.A.R., but going back to play it after experiencing the demo for F.E.A.R. 2 reveals a more conservative balance between the two themes and a more controlled buildup of the atmosphere and story. As I came to the end of the demo’s mission where I had to jump into some Mech power armor, I did not feel like I wanted to find out what happens next. There was no “Ladder Scene”, and the initial spectacle of the bullet time effects that were so impressive in F.E.A.R. is no longer there. So what is it, Monolith? Is it a first person shooter, or is it a horror game bound together by first person shooter conventions?

The demo’s introductory level picks up almost immediately where F.E.A.R. left off: a decimated city resulting from the psychic wrath of the mysterious Alma. It was widely reported during the development of F.E.A.R. 2 (or Project Origin) that Monolith summarily disregarded the first game’s two expansion packs, making the official F.E.A.R. timeline consist of only two games. Instead of the military conspiracy aspects that Sierra’s two expansions focused on, Monolith makes Alma’s story the primary focus of Project Origin. Certainly one of the creepiest elements of F.E.A.R., I was eager to find out more about this storyline.

F.E.A.R. 2 seems to rely on the tiresome trend in FPS of “found” emails and documents scattered throughout a level to develop the story. What happened to “show, don’t tell”? Setting up and slowly releasing information through player interactions with the game world keeps them engaged. Not dropping into a menu screen to read an email. And the random flashes of gaping skull mouths and ethereal forms floating through rooms is far too heavy handed to establish any kind of atmosphere. F.E.A.R. took its time to let you know you weren’t just playing a FPS; and once you found out, it became hard to distinguish between the simple firefights with clone troopers and an encounter that would result in some horrifying scene that made you wonder if it was safe to continue playing.

Because F.E.A.R. 2 was developed simultaneously for three platforms, some changes naturally had to be made. The new checkpoint system doesn’t really bother me – it’s become a staple of FPS in the console years whether we want to accept it or not. Health packs are ejected in favor of a Halo-like system that maintains a base health meter and rechargable shield. However, in a game that stresses a light version of tactical combat through taking cover I found it a bit strange that the ability to lean was taken out. According to the developers this feature was removed to “maintain tension”:

You have no threat to lean around a corner and be able to peek into a space and now you gain complete knowledge of that space, based on your perception of what you can see. By doing that it kinda disables your fight [or] flight mentality, so by pulling it out (I mean it was a very [conscious] decision to take it out) so by taking it out you don’t have that freedom now…You have to expose yourself to get around corners and look into a space and as soon as you do that you maintain that tension a lot better.

It’s a strange (and poorly worded) explanation, and doesn’t really agree with the overall design of combat in the game. A great new feature was introduced to allow you to knock over tables or vending machines to create your own cover, much like the enemy AI was able to do in the first game and to my amazement the first time it happened. When engaged in combat, being able to view your surroundings in relative security is an important ability, especially when outnumbered. Many shooters now rely on it, so why should F.E.A.R. 2 be any different? Once again I am left wondering what Monolith is trying to achieve with this game.

The demo’s biggest failing is that it assumes the player will be impressed enough with the game’s more streamlined version of combat, and satisfied with the brief glimpses of blood, gore and ghostly figures to move on to the full version in the hopes that it will deliver. The power armor seemed so out of place in this game; it felt like it was put into the demo to show the new avenues of action that can be expected (or that they were responsible for Shogo: Mobile Armor Division). But I don’t want variety – I want focus. And with a game like F.E.A.R. 2, there’s a very thin line that must be walked if the developers are going to claim the game’s atmosphere and resulting “tension” as selling features.

The demo’s mission was too short to present any useful information on the story, and I wasn’t that impressed with the combat. If I am getting this game for the story, I need to know more. I don’t want to shoot guns and fend off faceless clonetroopers with Bullet Time effects or pilot power armor. The full version of the game has been out for a week, and while the reviews seem favorable enough, no one has committed to calling it anything other than a shooter with some horror and suspense elements.

The F.E.A.R. demo terrified me two years ago; the ladder sequence was what did it. I had gone into it expecting nothing more than a FPS with some horror conventions thrown in, but I was surprised at how well the action blended into suspense and back again. It was impressive enough to seek out the full version that supported these initial impressions, and remains one of the scariest games I’ve played since. Conversely, the demo for F.E.A.R. 2 suffers from a bit of an identity crisis, which muddles its intentions. While I want to give it the benefit of the doubt based on the feelings I had for its progenitor, I don’t feel confident pursuing the full version for something that only might be there.